By the 1980s, Amitabh Bachchan was at the height of his stardom. While the decade was not the most vibrant for the Hindi film industry in general, Amitabh went on to do some of his most iconic movies at the time. Their success can in no small part also be ascribed to some of the great songs that came out of them, because this was a time not all that far back in the past, and yet Kishore Kumar was still around to sing songs. In spite of the slightly downbeat trend in film music at the time, some happy gems did come out of it. Inteha ho gayo intezaar ki from the 1984 film Sharaabi, manages to be both by changing its mood half way through its length. Continue reading →
This song from the 1981 film Yaarana has a special memory for me. While the song itself is a great little melody, what first comes to my mind is the way my parents described me singing the words to it when I was a kid, rather than what they actually are. While this doesn’t spoil the song for me, nor am I nostalgic about forgotten baby talk, Chookar mere mann ko still remains a worthy song to listen to. Continue reading →
Hindi films have always been very fond of having songs which have a hidden meaning to the audience and some of the players on screen, but seem perfectly innocent to everyone else. I’ve spoken before of the typical Hindi film party song, with words that do everything from profess love to mock the antagonist of the piece; Dekha na hai re socha na from the 1972 film Bombay to Goa is very much an antagonist mocking party song, only it’s set on a bus travelling as indicated in the title, and has Amitabh Bachchan jumping around a lot wearing a shiny pink shirt. Continue reading →
By the end of the 70s, Amitabh Bachchan was the undisputed king of Hindi cinema and he had settled into a comfortable niche of angry action hero and romantic rogue that worked out quite well for him with almost every outing. Kaalia, released in 1981, was another in this line of Amitabh starers, along with Parveen Babi as his partner in on-screen romance.
Tum saath ho jab apne inherits a long history of Hindi songs set in strange parties where everyone seems satisfied to stand around and enjoy the song and dance unfolding before them, peppered with layers of meaning between the protagonist and the antagonist, who also happens to be invited, or is the host in some cases! Continue reading →